Textile materials and working methods are associated with intimacy and care. In this project, textile encounters more monumental contexts. A number of places have been selected as starting points for artistic depictions, which has resulted in physical depictions in the city or works of a relational and performative character.

Presentations:

Emese Benczúr, Find Your Place, Katarina Church, Högbergsgatan 15
Installation outside the church entrance.
Emese Benczúr lives and works in Budapest, where she received her education at the art academy. In her work we are faced with words and almost fundamental sentences. The significance of the works is at the same time enhanced by the technique or method used. How we, as viewers, approach the work also elucidates the reading of the work’s “meaning”, and perhaps for this reason she frequently works site-specifically outside the traditional exhibition space. Often choosing textile materials that allude to corporeal intimacy, time-consuming methods such as embroidery have a prominent position in her practice. Emese Benczúr has exhibited at the Hungarian Pavilion at the Venice Biennale (1999) and at Manifesta 2 in Luxemburg (1998). At Moderna Museet in Stockholm she presented her site-specific work Patterns neededfor life (1999) and she also participated in the exhibition Material Matters at Norrköpings Konstmuseum with her work Try to see the world through (2002).

Britta Carlström & Monica Nilsson, In Touch, Mynttorget
Here, Carlström and Nilsson use the most fundamental of textile art’s methods and means: the thread. The origin of the work In Touch is a desire to connect the Stockholm Palace and one of the temporary kiosks in the vicinity of the Palace with a thread or a wire, as a simple but subtle way of joining two worlds. The elaborate application process for obtaining a permission to carry out this seemingly inoffensive and safe operation of tying a thread between two buildings also becomes part of the work. For a short time in September, In Touch will be in place for the attentive viewer to discover. Waiting for the King’s decision, the work takes shape.Monica Nilsson received the 2000 Nordic Textile Award. In her art she accentuates the characteristics of the material, the cloth, and uses its expression in powerful, sculptural depictions. Her repertory includes installations as well as public decorations. Nilsson lives and works in Stockholm and was educated at Konstfack, University College of Arts Crafts and Design, Stockholm.Britta Carlström was educated at Konstfack, Univerisy College of Arts Craftsand Design in Stockholm, where she lives and works. She uses the already used: textile left-over materials and remnants. In her work Den gamla trädgårdenshe cuts up an earlier work with exact incisions by a band saw. She has produced a number of public works. In Svetsspets, an artistic decoration at Gamla Stan’s underground station, she created a fence between the tracks inspired by the loose plain weave.

Leif Holmstrand, ID:I galleri, Tjärhovsgatan 19 (NB: only 17, 18, 19 September).
The performance / installation Territorial Clothing Cage Intermission is based on the earlier work What the Others Knew.
Leif Holmstrand is a poet and artist, living in Malmö. His textile and crochet stagings, objects and installations often undermine the sense of safety and innocence that so often is associated with textile materials. Instead, we are faced with ideas of alienation and doubt, corporality and identity. Leif Holmstrand has presented his installations and performances at Moderna Museet, Bonniers Konsthall and gallery Crystal in Stockholm, among others.

Hugger Mugger,in da house, ID:I galleri, Tjärhovsgatan 19 / three performances in Södermalm, Stockholm. see related information
Comprising Maria Hägglund, Ellinor Ström, and Catarina Williamson Källström, the noise performance group works with sound and music, performance and installation. The group has given successful performances at festivals and galleries, including a concert in a wardrobe, the placing of 200 whoopee cushions on a busy pedestrian street, the broadcast of a radio programme from a self-made giant radio set of cardboard, and the release of a double CD. Hägglund and Ström were educated at HDK, School of Design and Crafts, Göteborg and Williamson Källström at Konstfack, University College of Arts, Crafts and Design, Stockholm.

Ilkka Isaksson & Ulrika Wedin, Muistaa äänen / Minns ljuden / Remember the Sounds, Katarina Cemetery, Högbergsgatan 15
Installation in a tree outside Katarina Church.
The memory: voices and thoughts – two memory capsules that have collected and continue to collect fragments of conversations between people, in time and space. The installation is three-dimensional with visible texts and recordings of passing conversations, which are played back with a time delay – when they have already passed – a memory.
Ilkka Isaksson is a freelance scenographer, interested in the relapsed, the sediments of human life, what remains, artefacts of lives gone by. His field is mainly that of dramatic art and exhibition design, as well as graphic design.
Ulrika Wedin works with video and textile depictions. She sets out from rooms with an interest in the poetry of the place. Memory and time are subjects to which she frequently returns. Her field is that of exhibition design, costume, scenography and art. Isaksson and Wedin were educated at Konstfack, University College of Arts, Crafts and Design, Stockholm.

Virpi Vesanen-Laukkanen, installation in a bus. Further information on the page “Bus tour”.
With playfulness and nostalgia, passengers can be activated and enticed to communicate with one another or get in touch with their memories. The installation in the bus is based on crocheted table cloths acquired at flea markets. In her art, Virpi Vesanen-Laukkanen plays with and parodies, in a kind way, images and myths about femininity. People of all ages find it easy to approach her fairy tale-like artworks. Virpi Vesanen-Laukkanen lives and works in Helsinki.

Eivor Willbacka, Stranded, Tjärhovsplan
Installation on a cliff face towards Fjällgatan.
Eivor Willbacka explores materials/fibres and their content and boundaries. She uses materials with an inbuilt sensitivity, such as hair, horsehair and piano wire. Visible-invisible, make-or-break, and lightness-heaviness are conditions that she expresses in her work. Willbacka was educated at Konstfack, University College of Arts, Crafts and Design in Stockholm.

Curators:
Inger Bergström
Using the potency of textile techniques and the materials’ inherent references is what characterises her work. The focus is often on the three-dimensional and the spatial in which textile is employed as a kind of building material. Inger Bergström was educated at Konstfack, University of Art, Crafts and Design, Stockholm where she is professor.

Maria Sandstig
Identity and alienation are recurring issues in Maria Sandstig’s work, with the starting-point in the private. The materials vary according to themes, spaces and contexts. She has pursued several collaborations with colleagues. A rewarding and exciting one is her conversations with a landscape architect about play, with the focus on children’s and young people’s places for play in public space. This resulted in a play sculpture for Vitabergsparken, Stockholm. Maria Sandstig was educated at Umeå Academy of Fine Arts.

Lotte Nilsson-Välimaa
Educated at Konstfack, University College of Arts, Crafts and Design Stockholm, in textiles and sculpture. Introducing something of the private into the public is a red thread in her work. In her photo and material based work, the human being appears to be engaged in an activity. Collaborations in various constellations of artists are ongoing in parallel to her own activities.